A Quote by Radha Mitchell
As much as most of the actors were kind of curious to know what their character meant in relation to the script and to the plot, they really were quite happy to be part of the adventure of not knowing.
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Barry Crump wrote a lot of books and they were really special. They were kind of the quintessential, mild for the most part, kind of southern man, kind of the true heart of what it meant to be a Kiwi kind of farmer; very kind of outdoor man living off the land. That kind of thing, you don't see so much anymore these days with everyone being metrosexual and lattes and laptops.
My character Milly in 'The Boy Who Could Fly' was a very strong part. There were dramatic moments, and there were humorous moments, too. The whole story with Eric Underwood's character was just wonderful, and the messages behind the script were very important to me.
It was really really neat to make the movie because there were mentally challenged actors in the movie. So that was really really cool to work with them and they were always really happy, and they made everybody really happy on the set too.
I don't think plot as a plot means much today. I'd say that everybody has seen every plot twenty times. What they haven't seen is characters and their relation to one another. I don't worry much about plot anymore.
Yeah, and the language the "we" has, and the character the "we" has. Because that was the part of the book that I didn't plan out, but the part that I was most curious about as I was writing. You know what you're doing, but you're sometimes still sort of curious as you're writing it.
I read the 'Nightflyers' novella and knowing that it was something that had been written by George R.R. Martin, knowing how those stories kind of go, I was really curious to see what happened to my character in the source material.
In his or her own way, everyone I saw before me looked happy. Whether they were really happy or just looked it, I couldn't tell. But they did look happy on this pleasant early afternoon in late September, and because of that I felt a kind of loneliness new to me, as if I were the only one here who was not truly part of the scene.
Knowing that Gene and Morgan were playing those roles made it much easier to put the script together-we knew who we were writing it for. It took some mystery away.
You were everything, everything that I wanted. We were meant to be, supposed to be, but we lost it. And all of the memories, so close to me, just fade away. All this time you were pretending. So much for my happy ending.
This is what I would say to my pupil: 'You have become only your fame and left behind most of who you were. How are you going to deal with that? Will you lose that person forever? Have you become someone else without really knowing it? Do you always have to stay in character for people to like you? Do you know that you are in character?'.
I didn't want to be thirtysomething and not know what I was going to do. I was quite afraid of that, there were quite a lot of aimless kids around, in that 'other' side of my life, who didn't really know what to do because they always had a bank balance to fall back on and they were quite lost.
I think that's always been part of the thinking behind the script, that - and I really tried really hard to impress that upon the staff of the show, the animation staff - to try to get them to understand that we would only be able to get away with what we were writing if the visuals were appealing enough that it was like a balance, and even people who didn't like what they were hearing would still not want to turn away because what they were seeing was so nice. So that was kind of my hunch, and I think it worked.
Simon's walls were covered in what looked like pages ripped from a comic book, but when I squinted, I realized they were hand drawn. Some were black-and-white, but most were in full color, everything from character sketches to splash panels to full pages, done in a style that wasn't quite manga, wasn't quite comic book.
If you read a part that you want to play, and you already know you have actors you want to work with but it's not on the page, it's not going to be on the screen. So that is the most difficult thing to do for a producer, is to get a script that attracts this kind of talent.
A different script calls for different things. It always takes me a long time to get to know the part, and know the logic behind the words. I have to be with the script for quite a long time before things start to fall into place, before they become part of the character.
When I shoot, I try to feel the body and the face and the weight of the actor, because the character until that moment is only in the pages of the script. And very often, I pull from the life of my actors. I'm always curious about what these characters and these actors are hiding about their lives.
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